Mannerism

This paper explores the contradictory discourses on manners, safety and emotion that arose with mass motorization in Japan in the 1960s and which continue through the present. It documents the way in which multiple government entities end up working at cross-purposes in their attempts to cultivate safer drivers and slow the epidemic of traffic accidents. On the one hand, the discourse on driving manners suggests a widespread embrace of the Traffic Bureau’s and other government agencies’ concern with safety.
On the other hand, the emphasis on manners may lead to angrier driving, which promotes accidents according to psychological studies of driving. The picture that emerges is one in which attempts at social control are complicated
by the often unpredictable emotional reactions of subjects caught in a web of institutional and ideological processes. By exploring the relationship of emotion to driving school curricula and the discourse on manners, this article extends previous studies of self, social control, and social management in Japan.

This  essay  does  not  strive  to  give  a  comprehensive review  of  literature  on  Antwerp Mannerism, but rather to summarize the focal points of discussions and to outline key roadmaps for further studies.
The majority of scholars consider Antwerp Mannerism as a late Gothic style influenced by Italian Quattrocento. Its genesis, however, remains a subject of hot debates. If Hoogewerff argued on  the  German  origins,  Vandenbroeck  attributed  it  to  an  inflow  of  provincial  artists.  Whatever were the origins, Expressionist shapes were not inherent to the early Netherlandish painting and the  attempt  to  fuse  them  with  ‘realism’  of  the  Flemish  Primitives  seemed  a  revolutionary breakthrough following the pictorial crisis of the 1480s.  Despite a rift in chronology, Antwerp Mannerism has irrefutable similarities with the later Italian Mannerism. Thus exploration of intellectual and religious context of early sixteenth-century Antwerp art similar to Max Dvořák’s approach can be another direction for further research of the Italian and Spanish Mannerism.  The subject matter of Antwerp Mannerist art, too, remains largely unexplored. Dan Ewing’s breakthrough  essay  showed  that  the  changes  in  iconography  (such  as  reinvention  of  the  well-known  subject)  could  mark  shifts  in  identity.  By  no  means  they  are  merely  ‘anecdotic’  as  Paul Philippot stated. What subjects were popular beyond the Adoration of the Magi and why? Were there  any  secular  subjects?  How  did  the  iconography  of  Antwerp  art  reflect  the  intersection  of different Netherlandish schools of art? How did later artists incorporate the pictorial inventions of the  Antwerp  Mannerists?  Finding  an  answer  to  these and  similar  questions  can  provide  a  rich context for further studies on this ‘contrived’ but unique style. Keywords: Mannerism, Antwerp, Max Friedländer, Gothic Mannerism, Renaissance.

This paper aims at questioning the concept of exercise as it is understood in the mannerist treaties of art in the late Cinquecento. It relies on a thorough investigation on the philosophical sources (such as Aristotelism and Neoplatonism) of these artistic theories. For the mannerists, art is a subjective quality that is granted by practice and custom; drawing practice, for instance, is supposed to help the artist create with ease and facility, improving both his manual dexterity and the accuracy of his judgement. The notion of “judgement of the eye”, one of the many qualities exercises may involve, suggests that the artist must learn “to see” in order to be able to adapt general rules to fit specific and difficult situations, as Aristotle’s prudent man. Drawing, in particular, is regarded as an opportunity of getting an enriched and refined eye by correcting the flaws of one’s works. Grace, defined as “facilità nella difficoltà”, is said to emerge from this frequent practice, but also implies that the artist should be true to himself and follow his own inclinations. Because art is thought as a sort of virtue and concerns the artist’s whole life, drawing practice turns into a practice of the Self, through which the artist models, examines and improves himself.

The first part of this essay deals with Giorgio Vasari's conception of architecture in sixteenth-century Italy, and the second part examines Vasari's practical application of one of his constructions, the loggia (open gallery or arcade) or corridoio (corridor). The essay also discusses the merits of Vasari's open gallery (loggia) as a vernacular architectural construct with egalitarian functions and Vasari's principles of architecture (design, rule, order, and proportion) and beauty (delight and necessity) for the formulation of the theory of art in Mannerism, a sixteenth-century style of art.

Paper published in: H. Walter and H.-J. Horn (ed.), Die Rezeption der ‘Metamorphosen’ des Ovid in der Neuzeit: der antike Mythos in Text und Bild (Ikonographische Repertorien zur Rezeption des antiken Mythos in Europa. Beihefte 1), Berlin 1995, 161 – 172

The author considers the phenomenon of mannerism and (the similar phenomenon) snobbery of language behaviour in the social communication. The analysis of empiric material is based on a model of linguistic communication, which includes four configured categories: meaning, form/structure, pragmatic function and context. The author treats the mannerisms of language as a preference of the sentence form and structure and thereby causing some pragmatic effects. The author distinguishes several communicative and non-communicative functions of language mannerism: associative (especially the function of positive self-presentation of sender), pragmatic (persuasive) and ethological (aesthetic and hedonic experience).

Thomas Bernhards letzter umfangreicherer Prosatext, der Roman „Auslöschung. Ein Zerfall“ (1986), erweist sich als in seinem Redegestus grundlegend von Verfahren der Bildpraxis strukturiert, die auf die Ästhetik des Manierismus verweisen. Ausgehend von manieristischer Bildlichkeit in Malerei und Fotografie übersetzt der Text die Prinzipien von Verzerrung und Übertreibung rhetorisch in das Medium literarischer Sprache und gruppiert seine Narration um das Motiv der figura serpentinata.

Thomas Bernhard’s last large prose work, the novel “Auslöschung. Ein Zerfall” ('Extinction',1986), proves to be based in its narrative style upon iconic practices taken from the aesthetics of Mannerism. Taking impulses from Mannerist imagery in painting and photography, the text translates the issues of deformation and hyperbole into the rhetorical medium of literary expression and arranges its discourse around the motif of the figura serpentinata.

Der Beitrag versucht sich ästhetischen Dimensionen und Praktiken im Leben europäischer Unterschichten anzunähern. Er verfolgt Suche und Streben nach Schönheit vom Mittelalter bis zum "proletarischen Chic" der Jugendsubkulturen des 20. Jahrhunderts. Zugleich setzt er sich kritisch auseinander mit kulturwissenschaftlichen Versuchen, solche Praktiken mit der Polarität von Stil und Manier zu erfassen.

The research conducted by this paper has been largely updated and elaborated in my MA-thesis "Senses and Passions of Benvenuto Cellini"; you are more than welcome to check it out. // The article aims to rethink the several stereotypes of Romantic tradition, which are still reproduced in regard to Benvenuto Cellini and his Vita. Using the approaches of intellectual history and iconographical studies, the present study pays attention to the coherent system of lay, scientific and ‘secret’ knowledge of the epoch lurking under the surface of the simplicity and even naivety of the author’s language. I argue that this autobiographical writing embodies a certain type of culture of the self deeply rooted in contemporary medical, alchemical and magical contexts. Organized around the concept of “getting pleasure,” Cellini’s practices of the self are built into the Neo-Platonic picture of the world. Analyzing the two passages of Vita, I demonstrate the author’s spiritual ascent from the corporeal suffering to union with ‘the One’ by means of individual and collective magic rituals, transforming his Life into a work of art.

In 1525, Isabella d’Este’s son, Federico, commissioned architect Giulio Romano to build him a pleasure palace at the family’s stables at the south end of Mantua. Giulio took the mantle of Mannerism from the late Andrea Mantegna and created a masterwork of iconographically rich trompe l’oeil frescoes on the interior surfaces. Two of the corner rooms are particularly significant, the lyrical room of Amor and Psyche, and the Room of the Fall of the Giants, which depicts a massive architectural collapse. The palace’s outer walls manifested a bizarre articulation — including falling triglyphs and rising keystones — that scholars have debated the meaning of for years. This essay shows the complex interconnections within the complex, the city, and the Roman classical heritage, by which these façades form a manifesto, in which Giulio Romano confronts the meaning of architectural language as well as the role of the architect as intermediary between Form and Matter.

The attached thesis is a reformatted and slightly edited version of the original on file in the libraries of Southern Methodist University.  It does not include the original illustrations.  However, images of these works can be found in the publications in the bibliography, as well as in some newer publications: Mary Vaccaro, Parmigianino: The Paintings; Sylvie Beguin, Parmigianino: The Drawings; and Achim Gnann, Parmigianino.

Abstract: In 1862, Myles Birket Foster, an English illustrator, commissioned the Morris, Marshall, Faulkner and Company to design ceramic tiles for his new house at The Hill in Witley, Under Morris’ guidance, Edward Burne-Jones composed nine sets of drawings for a Sleeping Beauty cycle to be transformed into ceramic tiles. Lucy Faulkner painted the tiles while Morris decorated the background and borders with swans, Celtic symbol of love as well as of music

In the Sleeping Beauty cycle, Burne-Jones was inspired by the fairy tales of French Charles Perrualt’s La Belle au Bois Dormant, seventeenth century, the German Brothers Grimm’s version of the tale, early nineteen century, and Alfred Tennyson’s poem The Day-Dream of 1830/ 1842. 

Burne-Jones’ spatial illusions unite the narrative scenes as well as creating an imagery of suspension for the viewer. With this unusual aesthetic moment, he expressed through fantasy his reflections on art, beauty and love.

In 1564, in honor of the death of Michelangelo Buonarroti (1475-1564), an artistic extravaganza was invented by the Benedictine monk Vincenzo Borghini (1515-1580)-prior of the hospital of the innocents, humanist, and administrator of the Florentine Academy of Design (Accademia del Disegno or Florentine Academy)-and was implemented by Giorgio Vasari (1511-1574)-artist, writer, and artistic director of the Academy, who engaged his Florentine assistants to work on the execution of the tomb in the Basilica of Santa Croce in Florence (see Figure 1). The commission of Michelangelo's tomb was prompted by his nephew, Lionardo [Leonardo] Simoni-Buonarroti (1522-1599), and the Grand Duke of Tuscany, Cosimo I de' Medici (1519-1574). The tomb was completed in 1578. Vasari designed the architectural monument, and his assistants, members of the Florentine Academy, collaborated in the following manner: The sculptures of the Fine Arts were carved by Giovanni Bandini (1540-1599), who represented the personification of architecture; Valerio di Simone Cioli (1529-1599), who represented the personification of Sculpture; and Battista Lorenzi (1527-1594), who represented the personification of Painting and the portrait bust of Michelangelo. Giovanni Battista Naldini (1537-1591) completed al fresco the burning urns, the purple-colored doorway of the tomb, the suspended canopy, and the Pietà in the center of the marble tabernacle. This latter artistic contribution is the topic of this essay.

The article examines and discusses some drawings by Giulio Pippi, known as Romano (c.1495–1546). One sheet is unpublished, while a few others are already known, although their exact destination is unknown. All of them concern the Mantuan period of Giulio, who worked for the Gonzaga family from 1524 until his death. The sheets all relate to Palazzo Te, except for one linked to an altarpiece carried out by his workshop.

Insight into the early spread of coffee culture is hampered due to limited sources and uncertainty if they refer to coffea, or another plant. A playful source for debate in coffeaology (the study of coffea) is Arcimboldo's 1590 masterpiece: Vertumnus (1). The earliest 'western' depictions of coffee appear to be in 1574 by Charles de l'Ecluse (Clusius), while botantist of Maximilian II (2) , and 1592 by Venetian botanist Prospero Alpini (3). Neither is detailed, but accompanying text enables identification of Alpini's berryfree coffee tree (observed in Cairo); Clusius mentions the 'furrow' in his beans (obtained

Il contributo presenta disegni inediti e altri già pubblicati, dei quali viene rivelata la destinazione; i fogli presi in considerazione appartengono a numerose collezioni pubbliche italiane e europee o sono comparsi sul mercato; sono qui riferiti ad artisti attivi nel XVI secolo a Roma o in Lombardia. The paper deals with hitherto unpublished drawings or with published drawings whose destination is here unveiled; the
sheets dealt with belong to many Italian and European public collection or have passed through the art market; they are
here referred to artists working in the 16th century in Rome or in Lombardy / Cristoforo Caresana; Giovan Paolo Cavagna;Teodoro Ghisi; Luzio Luzzi; Bernardino
Malpizzi; Cesare Nebbia; Enea Salmeggia

In the cultural system of the Renaissance, music was never conceived of only as a practical discipline or a simple form of entertainment. It was a deeply intellectual activity able to connect a single individual to the universe and to God. Church organs had an important task in this regard, for they played a privileged role among musical instruments when it came to liturgy. This essay examines these dynamics through an art-historical analysis of organ shutters, and, in particular, their decoration. Shutters quite literally occupied the ground between music and painting. Their unique position gave distinctive characteristics to these peculiar paintings, turning them into something that differed from other artistic representations in churches, like altarpieces or devotional sculptures.
This essay will examine the paintings on organ shutters from the end of the fourteenth century to the beginning of the seventeenth century, in order to determine what the use and decoration of these shutters might tell us about how relationships between music and religion generally were conceptualized in the Renaissance. Might these material objects, quite literally suspended between two leading art forms, be useful tools for opening new questions in the study of Renaissance religions? Looking to aesthetics, musicology, and material culture, this essay aims to offer an interdisciplinary examination of an overlooked art form that may help us reconstruct the complex sixteenth-century religious world.

The Mattei family chapel in the church of the Aracoeli in Rome was commissioned by Alessandro Mattei in 1564. Its pictorial decoration, painted by Girolamo Muziano in the 1580s at the behest of Ciriaco Mattei, is considered a source of inspiration for Caravaggio. The article assesses the chapel's early history in light of unpublished drawings and new documentary evidence, postulating the involvement of Cesare Nebbia.

À partir de l’examen des notes et traces de lectures présentes dans certains livres de la bibliothèque de Giorgio Manganelli conservée auprès du Centre manuscrits de l’Université de Pavie, on se propose d’analyser comment l’écriture de l’auteur, dans Discorso dell’ombra e dello stemma, Dall’inferno, Encomio del tiranno, La palude definitiva,
Il presepio, est liée à la tradition littéraire et iconographique du Maniérisme. Les hommes et les animaux monstrueux, l’usage du clair-obscur, les lieux labyrinthiques, la langue serpentinata, rappellent certains textes et oeuvres d’art du xvie siècle, mais sont en même temps les représentations phénoménologiques d’un maniérisme compris comme catégorie atemporelle, comme déviation de tout ce qui serait harmonie ou norme.

Mannerism was the bridge between late Renaissance and the Baroque between 1520 and the 1600s. This movement was characterized by the destabilization of compositional elements through repetition and expressiveness, regardless of their function. This phase in history echoes a trend in contemporary architecture based on the repetition of functionless elements that constitute a 'green aesthetic' in detriment of sustainable systems. Ecomannerism is a conceptual vehicle to identify and evaluate iconic contemporary projects that are positioned between ecologies of practice and ecologies of symbols, which are directly related to the sustainable performance of the built environment.

Jacopo Pontormo’s artistic production has already been classified both as part of Mannerism and as the expression of an anticlassical experimentalism. Throughout the 20th century, several art historians tried to link Mannerism to a context marked by profound crises, and Pontormo’s work was not excluded from this scenario. In this paper, I propose a review of this interpretation offering a possibility for its development. For that, I resort to what is defined here as the “notion of uncertainty”, something that started to appear more strongly from that period onward. With the intention of demonstrating the plausibility of this proposition, a possible intellectual source was considered, that is, the renewal of skepticism promoted by the circulation of Sextus Empiricus’ work, as well as Pontormo’s writings, paintings and drawings.

The article tries to reconstruct some circumstances related to the counts of Quirra (Sardinia) during the 16th century, starting with Guglielmo Ramón de Carroz (Centelles), author of a bequest for the commission of an altarpiece in the church of St. Francis de Stampace in Cagliari. Identifying the work with the Altarpiece of St. Christopher, which is currently part of the collections of the National Art Gallery of the same city, through the reconstruction of the socio-cultural context and the analysis of the panels, the author of the study proposes the attribution of the polyptych to the painter Matteo Pérez da Lecce.

Die Magisterarbeit beleuchtet einen zentralen Aspekt der persuasiven Kunst Caravaggios: Detailliert wird aufgezeigt, wie die Antithese, ein Kunstgriff der antiken Rhetorik zur Spannungserzeugung, das Wesen seiner Malerei bestimmt. Die Erläuterung seines Schaffensprozesses als konzipierte Kunst zementiert die Forschung, die Merisis geschulte Formensprache herausstellt und den Künstler von dem Klischee des Außenseiters und nicht akademischen Malers befreit. Ein Exkurs zur Entwicklung der Stilfigur legt den vermehrten Gebrauch antithetischer Stilmittel im Manierismus und Barock dar und verortet Caravaggios Konzept in eben jener Epoche, die den Kontrast zwischen Himmlischem und Irdischem sucht.

HR
Rad analizira inventorski opus šibenskog bakroresca Martina Rote Kolunića, čije je
razdoblje umjetničkog stvaralaštva trajalo od dolaska u Veneciju 1565. godine do smrti u
Pragu 1583. Rasprava o odnosu protureformacijske misli i manirističke likovnosti uvertira je
u interpretaciju istih na reprezentativnim primjerima Rotinih inventorskih bakroreza. Posebna
pažnja je posvećena identifikaciji utjecaja u vidu tehničkih postupaka koji su karakteristični
za majstore na koje se Rota ugledao, poput Giovannija Battiste Franca i Cornelisa Corta. Uz
interpretaciju grafičkih listova sakralne ikonografije, rad se bavi i listovima alegorijske
ikonografije te dekoracijom portretnih okvira. Martin Rota Kolunić inventorskim je opusom
stekao ugled obrazovanog umjetnika čiji izraz uspješno balansira između pučki-popularnog
aspekta grafike i elitističkog senzibiliteta visokog manirizma.

EN
This paper analyzes the inventive oeuvre of a Sibenik-born engraver Martin Rota
Kolunic, whose creative period started with his arrival to Venice in 1565. and ended with his
death in Prague in 1583. A discussion about the relation of Counter-Reformation and
mannerism serves as a prelude to the interpretation of representative examples of Rota's
inventive engravings. Special attention was devoted to identifying influences based on
technical procedures specific to masters who inspired Rota, such as Giovanni Battista Franco
and Cornelis Cort. This paper examines Rota’s sacral and allegorical engravings, as well as
examples of decoration for portrait frames. With his inventive oeuvre, Martin Rota Kolunic
has gained a reputation of an educated artist whose expression successfully balances the
widely popular aspect of graphic production and the elitist sensibility of the high maniera.

 This study elaborates on the decoration of the ceiling in the refectory of the former Monteoliveto monastery in Naples, today part of the church of Sant'Anna dei Lombardi. It consists of three parts: an explanation of the ceiling design with its geometrical configurations of circles, octagons, hexagons, ovals, and squares; an iconographical analysis solely focusing on the ceiling decoration, which consists of grotesques, constellations, and zodiac signs; and a discussion of some of the literary and visual sources employed in the decoration. The Florentine Mannerist painter Giorgio Vasari, aided by several assistants, renovated and painted the ceilings between 1544 and 1545. Don Giammateo d'Anversa, the Abbot General of the Monteolivetan Order in Naples, composed the iconographical program with the assistance of insightful suggestions from the Florentine Monteolivetan prior Don Miniato Pitti, who was Vasari's patron and friend as well. This oversight inspired Vasari to paint a celestial utopia of hilarity and whimsicality on the Neapolitan ceiling, thus leavening the other imagery, which combined both religious and secular representations of moral virtues and divine laws.

Pollastra. The Virgin Mary is depicted as a victorious symbol of grace and salvation, triumphing over evil. Rejoicing angels surround her with scrolls containing Latin inscriptions, QUOS EVE CULPA DANAVIT and MARIE GRATIA SOLVIT. These joyful words allude to the restoration of the fate of Adam and Eve after eating the forbidden fruit from the Tree of Knowledge in Paradise. A sinuous serpent coils around the fig tree, while tied-up Old Testament and New Testaments wait for forgiveness and salvation. Three considerations are addressed in this essay: (1) discussion of Vasari's recorded commissions; (2) stylistic observations and influences; and (3) interpretation of the imagery, that is, some observations on the symbolism of the painting.

There are conspicuous parallelisms —and symmetries— between the scholarly fates of Walter Benjamin and Arnold Hauser. While the first failed to attain any sort of success during his lifetime, the latter’s instant widespread diffusion went hand in hand with an ambiguous academic reception. However, if Benjamin posthumously grew to become a major author, Hauser remained an outsider, whose figure has faded and re-emerged with dubious fortune. In spite of opposite lucks, both authors were marked by a strong anti-positivistic attitude which sought to establish a distinct methodology for the social sciences, striving to understand the present through art criticism. Departing from broad considerations of their philosophical backgrounds, this paper will further illustrate their similarities and differences by examining shared accusations that weight on them: their controversial forms of Marxism point to a conception of art criticism that handles historical narrative as myths, rendering their methods close to psychoanalytical dream interpretation.

Marguerite Yourcenar’s novel The Work in Black provides descriptions of artwork. Fingerprints artistic figurations in his novel become both a text and materiality of Intermediality Ut Pictura poesis. How is formed the symbiosis of the diegesis and Ekhprasis in the novel by Marguerite Yourcenar? Mannerist processes allow the author to play on two different display modes: the text and the image called by the text. How is this transposition within the Work in Black, a novel supposed to represent social circles of the Renaissance by taking the idea to Breughel and simultaneously echo the turpitude where there the contemporary world. Communication between the image and the text does not only nesting but also a representation that is created as a space, an "inner distance" in the words of Georges Poulet, which makes the work a bet abyss in the search for the essence the art work, the philosopher's stone which is the original experience of vision. The curveball opens an "inner space" as Claude Edmonde Magny analysis allowing the novel to open and expand this optical illusion, create connections, secret architectures. We will try to develop these problems merging form of osmosis The work at Black Yourcenar, at the intersection of disciplines and critical approaches that think the work of art in its many meanings and semiotic richness.